Lectura Dantis : Paradiso XXXI

Questo articolo analizza la struttura e il ruolo di Paradiso XXXI, il secondo dei quattro canti finali del Paradiso, tutti ambientati nell' Empireo. Il canto amplia la presentazione iniziale dell' Empireo in Canto XXX , sia con il ritratto del ruolo degli angeli che con la presentazione eterodossa dei beati nei corpi gloriosi così come appariranno nel giorno del Giudizio Universale. Il canto contiene la sostituzione sorprendente di San Bernardo con Beatrice e la preghiera di addio che Dante indirizza alla donna. Nella lettura delle similitudini del canto, la centralità dell' idea del pellegrinaggio diventa chiara, indicando il modo in cui Dante crea una poetica alternativa personale al Giubileo ufficiale di Papa Bonifacio nel 1300, l'anno stesso del poema dantesco.This article analyzes the structure and role of Paradiso XXXI, the second of the four final cantos of Paradiso, all set in the Empyrean. The canto amplifies the initial presentation of the Empyrean in Canto XXX, both in its depiction of the role of the angels and its heterodox presentation of the blessed in their «glorious bodies» as they will appear at the Last Judgment. It also contains the surprising substitution of Saint Bernard for Beatrice and Dante's farewell prayer to Beatrice. In reading the canto's similes, the centrality of the idea of pilgrimage becomes clear, and points to the way in which Dante creates a poetic personal alternative to Pope Boniface's Jubilee of 1300, the fictional date of Dante's poem

Reclaiming Paradiso:Dante in the Poetry of James Merrill and Charles Wright

The ‘fortuna di Dante’ among English and American poets of the twentieth century is a rich story that continues on into this millennium with new permutations and undiminished energies. Pound and Eliot canonized Dante for more than one generation of poets and readers. Although Eliot famously rewrote Dante’s infernal encounter with Brunetto Latini in ‘Little Gidding’, it was Purgatorio rather than Inferno that both Pound and Eliot valorized, its charged and affectionate poetic encounters serving as a model for key moments in both their works. Both poets especially loved Purgatorio XXVI, in which Dante’s meeting with Guinizelli and then with Arnaut Daniel is staged as an encounter between languages as well as poets, with Dante incorporating Provençal into his terza rima. For others such as Seamus Heaney and Derek Walcott the theme of poetic encounter in the afterlife, or between the dead and the living, remained a dominant trope, leading to important scenes in several Walcott poems and to Heaney’s great purgatorial poem, Station Island

Lectura Dantis: Paradiso XXXI

This article analyzes the structure and role of Paradiso XXXI, the second of the four final cantos of Paradiso, all set in the Empyrean. The canto amplifies the initial presentation of the Empyrean in Canto XXX, both in its depiction of the role of the angels and its heterodox presentation of the blessed in their «glorious bodies» as they will appear at the Last Judgment. It also contains the surprising substitution of Saint Bernard for Beatrice and Dante’s farewell prayer to Beatrice. In reading the canto’s similes, the centrality of the idea of pilgrimage becomes clear, and points to the way in which Dante creates a poetic personal alternative to Pope Boniface’s Jubilee of 1300, the fictional date of Dante’s poem

Taking the First Step Toward Autonomous Quadruped Robots: The Quadruped Robot Challenge at ICRA 2023 in London [Competitions]

Last year, the IEEE Robotics and Automation Society (RAS) CAB Competition Committee proposed the Quadruped Robot Challenge (QRC) as an exemplary robot challenge organized by RAS at RAS’s major conferences. As a part of the project, the first version of the QRC was held in ICRA 2023 in London. In this column, we would like to introduce the challenges and the results

Moral structure

Chapter 12 provides a comprehensive overview of the moral structure of each of the three realms of Dante’s afterlife: Hell, Purgatory and Paradise. It examines Dante’s sources, ethical criteria, and topography, as well as his representation of moral structure in the narrative itself, and its political implications. The first section analyses the four principal regions of Hell through Virgil’s rationale: the circles of incontinence, the ‘rings’ of violence, the ‘pouches’ of simple fraud, and the pit of treacherous fraud. It then explores the three groups of souls that Virgil strikingly leaves out: the ‘neutrals’, the virtuous pagans in Limbo, and the heretics. The second section addresses four key differences between Infernal and Purgatorial suffering, explains the moral theories of disordered love and the seven capital sins underpinning the seven terraces of Dante’s Purgatory, and examines the theologically original antechamber of Purgatory, and the Earthly Paradise at the mountain’s summit. The third section highlights Dante’s distinction between what Paradise is and how it is conveyed, and shows how his layered vision of Paradise overlaps the scheme of the four cardinal and three theological virtues with the theory of astral influence on personality.Postprin